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The Codex Corazza and Zaccolini's Treatises in the Project of Cassiano Dal Pozzo for the Spreading of Leonardo's Works

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The Codex Corazza and Zaccolini's Treatises in the Project of Cassiano Dal Pozzo for the Spreading of Leonardo's Works The Codex Corazza and Zaccolini’s Treatises 19 Chapter 2 The Codex Corazza and Zaccolini’s Treatises in the Project of Cassiano dal Pozzo for the Spreading of Leonardo’s Works Alfredo Buccaro Università degli Studi di Napoli “Federico II,” Dipartimento di Architettura Introduction This essay draws on my recent book—written with the support of Carlo Pe- dretti and in the wake of his studies—about the critical edition and reproduc- tion of the Codex Corazza, the apograph by Leonardo kept in the National Library of Naples, as well as on my current studies on the role of the apographs of Zaccolini’s treatises at the Laurentiana Library in Florence within the gen- eral context of the spread of Leonardo’s thinking in Southern Italy.1 Here I aim to describe the relevance of that work and of the ongoing study supported by our illustrious scholar and friend Pedretti. The two mentioned manuscripts have the same origin: they both are part of the family of apo- graphs drawn up under a massive initiative promoted by Cassiano dal Pozzo in 1640 for Cardinal Francesco Barberini, which aimed at the edition of an anthol- ogy of the Ambrosian Leonardo manuscripts. The Codex Corazza had to repre- sent the final draft of this “anthology,” which was ready to print, but never published. It should have included the edition of Leonardo’s texts forming the Treatise on Painting—later published in Paris in 1651—and the apographs kept in the Laurentiana Library: these last ones, still unpublished although partially studied, come from lost originals dating back to 1618–1622, drawn by the paint- er and perspectivist-architect Matteo Zaccolini, a lay brother of the Theatine order, and containing some texts from Leonardo’s writings on perspective and theory of shadows and colors. The following analysis of these documents con- siders the influence of the entire critical and informative work of dal Pozzo on 1 In both cases, our thanks go to Carlo Pedretti, who was the first to report the existence of those precious manuscripts some decades ago. I was lucky to meet him several years ago, when I was also introduced into the prestigious circle of Leonardo scholars: this represented for me the beginning of an important experience, which has resulted in the publication of the Codex Corazza with an excellent introduction by Carlo Pedretti. © koninklijke brill nv, leiden, 2016 | doi 10.1163/9789004304130_004 20 Buccaro Leonardo scholarship and in relation to the influence of the great artist’s thought on Neapolitan architecture and engineering in the modern age. The Codex Corazza and the Influence of Leonardo in Southern Italy The Codex Corazza (Naples, National Library, XII.D.79), a precious anthology from Leonardo’s manuscripts, was created thanks to a massive initiative pro- moted by Cassiano dal Pozzo for Cardinal Francesco Barberini in the early 1630s, in Rome and Milan, that was aimed at the collation, transcription, and publication of Leonardo’s texts already known at that time. The manuscript (Figs. 2.1–2.3) consists of a collection of texts and drawings on painting, the natural sciences, architecture, and engineering; they come from nondefinitive versions and they were destined to be printed. As said above, this Codex be- longs to the same family of manuscripts (even written on the same paper and in the same format and calligraphy) as the apographs of Zaccolini’s Treatises and the Codex H 228 inf. kept in the Ambrosiana Library, the basic text for the first French edition of the Treatise on Painting dated 1651. In our work on the Codex Corazza2 we have followed three lines of research: the study of this apograph with a specific analysis of the manuscript and of its role in relation to Leonardo’s texts, along with its lost parts and some hundreds of graphics faithful to the original ones; the story of Vincenzo Corazza, the owner of the manuscript, a leading figure of the literary and scientific Enlight- enment in Italy; and finally, the influence of Leonardo’s methods in the devel- opment of the modern profession of engineer-architect as a “scientist-artist.” Through the manuscript sources of the National Library of Naples, the Archig- innasio Library in Bologna, and many other Italian archives, we have been able to reconstruct the complex story of this Codex that belonged to Corazza since 1766. He lived first in his native city of Bologna, then in Rome and at the end of his life at the Bourbon Court in Naples (1784–1499), where he was the tutor of the royal princes, particularly of the future king Francesco I. Thus far, we have matched the relationships between Corazza and many other important per- sonalities of the cultural and political milieu of that time, discussing his pas- sionate studies on Leonardo, and the consequent reflections on his critical thought on art and architecture. 2 Alfredo Buccaro, Leonardo da Vinci. Il Codice Corazza nella Biblioteca Nazionale di Napoli, ed. Carlo Pedretti, with facs. reproduction and critical transcription, 2 vols. (Poggio a Caiano/ Napoli: CB Edizioni/Edizioni Scientifiche Italiane, 2011)..
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